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Posts from the “Photography” Category

Robin Schartz: Like Us

Posted on May 12, 2017

Photo: Robin Schwartz, Charlie, 1988, Chimpanzee, female, 5 years old, Copyright Robin Schwartz.

Last month, The New Indian Express recently reported the capture of a young girl who had been living with a troop of monkeys in the jungles of Katrraniyaghat, India. The world press went wild for the story of a feral child, with visions of Rudyard Kipling’s Mowgli dancing in their prose.

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“She behaves like an ape and screams loudly if doctors try to reach out to her,” says Dr. DK Singh, chief medical superintendent, Bahraich District Hospital, told the newspaper, adding that she walks, eats, and sits like monkeys.

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But the fantastical tale was short-lived as The Washington Post soon reported that the girl had been abandoned a mere hours or days before being recovered. It has been suggested her parents left her near an outpost, forsaking an unwanted daughter in a society that prized sons.

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Invariably, what occurred speaks to a distinctly human trait: a complete lack of interest in viable offspring, discarded and left for death because the gender has been so degraded by the society in which it exists. What’s telling is that this aspect of the story was disregarded in favor of playing up unfounded rumors of interspecies relationships.

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Read the Full Story at Crave Online

Categories: 1980s, 1990s, Crave, Exhibitions, Photography

James Pomerantz: A Successful Artist

Posted on May 11, 2017

Photo: Barneys $1,790.00 © James Pomerantz

When photographer James Pomerantz turned 40 in January of this year, he took a moment to reflect on success and what it meant. As the father of two young children, he recognized the importance of financial security, but understood that being a successful artist went deeper than this. It required him to be “true to my ideas, able to do it, and keep doing it. If I didn’t have to worry about the finance, I’d have the freedom to just create.”

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With this awareness, something snapped into place. For the first time in several months, Pomerantz found the mental space to get back to work on personal projects. Suddenly, he was able to move outside his comfort zone, discovering new means to create photographs that went beyond the commercial work that paid the bills each month.

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Pomerantz did something he had never done before: he made himself the subject of his work. For the new series, A Successful Artist, the photographer hit upon an idea: he would visit various haberdashers across his native New York and tell the sales clerks, “I need to look like a successful artist. Could you pick out something suitable?”

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Read the Full Story at Feature Shoot

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Photo: The Kimono House & The Hat House $317.95 © James Pomerantz

Categories: Art, Fashion, Feature Shoot, Photography

Best Celebrity Photography of the Last 20 Years

Posted on May 11, 2017

Photo: Alexandra Gavillet: Rae Sremmurd for The Fader

In recent years, celebrities have become so ubiquitous that it’s hard to make them look fresh. Even when they switch things up—be it their hair, outfits, or romantic partners—the threat of overexposure and boredom looms large in those who constantly stay in the public eye.

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A great photographer can see past all this: past the superficialities of hype, appearance, and the latest press junket. A master will use the camera to delve beneath the surface of the soft supple flesh in a search for the eternal, ethereal soul that lies within. Crave celebrates those who do it best with this tribute to the best celebrity photography of the last 20 years.

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Read the Full Story at Crave Online

Categories: Crave, Photography

Larry Clark: White Trash

Posted on May 10, 2017

Artwork: Christopher Wool, “Untitled”, 1987 enamel on paper 18 3/4 x 14 3/4 inches – framed. © Christopher Wool; courtesy of the artist, and Luhring Augustine, New York.

“People are boring unless they’re extremists,” Jenny Holzer exhorts from a laundry list of aphorisms she made in 1978. Her words perfectly describe the spirit of artist, filmmaker, and writer Larry Clark – and his obsessive passion for collecting. Since his first girlfriend gave him a portrait she made of him in 1961, Clark has amassed a vast panoply of art, objects, and artifacts that he keeps piled up in his Tribeca loft, creating a warren of glorious stuff.

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“You should enjoy yourself because you can’t change anything anyway,” Holzer notes on that same list, which is one of the many works in White Trash, an exhibition culled from Clark’s collection, now on view at Luhring Augustine, Brooklyn, through June 18. As you stroll through the show, you feel the pleasure, the pain, and the poignancy of the works that have called to Clark over the years.

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From a high corner, Alberto Korda’s portrait of Che Guevara hangs, gazing above the scene, which includes an impressive array of paintings, prints, photographs, sculptures, film and music posters, skateboards, furniture, books, vintage pieces, and neon signs like a Jack Pierson sculpture that flashes the word “APPLAUSE.”

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“Learn to trust your own eyes,” Holzer advises as you proceed through the show, taking in works by Helmut Newton, Andy Warhol, Richard Prince, Raymond Pettibon, Jack Pierson, Jeff Koons, Mark Gonzales, Max Blagg, and Ralph Gibson, to name just a few. White Trash becomes a visual memoir of Clark’s travels on earth – but it is the presence of his studio door, which stands perpendicular to the wall, feels the most intimate and sacred object in the entire show.

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“Slipping into madness is valuable for the sake of passion,” Holzer concludes, and you can’t really argue that sentiment while standing in this room. There’s much to be said for letting desire lead the way. Clark speaks with Dazed about his unconditional love for collecting, and the power of living with art.

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Read the Full Story at Dazed Digital

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Bottom Artwork: Christy Rupp, “The Rat Patrol”, 1979. offset print 10 5/8 x 22 7/16 inches (framed). © Christy Rupp, courtesy of the artist and Luhring Augustine, New York

Categories: 1960s, 1970s, 1980s, 1990s, Art, Dazed, Exhibitions, Painting, Photography

More Than a Picture

Posted on May 8, 2017

Photograph by: James H. Karales Printed by: Rick Rhodes Photography & Imaging, LLC Subject of: Lewis “Big June” Marshall. Lewis “Big June” Marshall Carrying the U.S. Flag, Selma to Montgomery. March, March 21, 1965 (detail). H x W: 3356pixels × 4200pixels (3356pixels × 4200pixels). Collection of the Smithsonian National Museum of African American History and Culture, Gift of Monica Karales and the Estate of James Karales © Estate of James Karales.

Photograph: Created by: Roderick Terry. Subject of: Unidentified Man or Men. Printed by: Penn Camera Positive. Reflections, October 16, 1995, silver and photographic gelatin on photographic paper. H x W (Image): 10 5/8 x 13 11/16 in. (27 x 34.8 cm). H x W (Image and Sheet): 11 x 14 in. (27.9 x 35.6 cm). Collection of the Smithsonian National Museum of African American History and Culture, Gift of Roderick Terry © Roderick Terry.

A photograph is more than a picture—far more than mere art. Photography bears witness to an event as it unfolds, creating a document of the moment that becomes part of the historical record. It is equal parts memory and evidence. In many cases it is proof, as in the new standard bearer: “Pics or it didn’t happen.” In this way, the photograph can transform our understanding of life by speaking in all languages at the same time without ever saying a word.

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Photography radically democratized the act of representation. Once the provenance of the wealthy elite and the power structure, the photograph liberated the picture plane from those who used it to support highly biased histories, mythologies, and narratives. Art in the age of mechanical reproduction enabled the image to be created at a much lower cost, be duplicated en masse, and distributed widely. It put the power of picture making in more people’s hands, and once freed from the strictures of the academy, the discipline flourished.

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Read the Full Story at Crave Online

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Photograph by: John Johnson Subject of: George W. Butcher. Subject of: Unidentified Man or Men Created by: Douglas R. Keister. Scan of George W. Butcher and friend wearing suits and leaning on canes 1919-1925; scanned 2012. H x W: 8112 pixels x 5772 pixels. Collection of the Smithsonian National Museum of African American History and Culture © Douglas Keister.

Categories: 1960s, 1970s, 1980s, 1990s, Art, Crave, Exhibitions, Photography

Anton Perich: Max’s Kansas City

Posted on May 5, 2017

The Cockettes, Photo by Anton Perich

or a decade Max’s Kansas City ruled New York, becoming the premier spot to eat, drink, dance, party, and frolic. Proprietor Mickey Ruskin opened the nightclub and restaurant in 1965, drawing top talents like Allen Ginsberg. William S. Burroughs, and Robert Rauschenberg. But when Andy Warhol and his entourage started hanging out in the back room, Max’s quickly became the place to be. Soon David Bowie, Iggy Pop, and Lou Reed were regulars, along with Warhol’s latest superstars like Candy Darling, Jackie Curtis, and Holly Woodlawn.

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In 1970, Croatian émigré, Anton Perich arrived a Max’s, by way of Paris. An activist in the Lettrism group during the 68 Revolution, Perich was an avant-garde filmmaker. He made friends with some busboys on staff, and they said it was the best job in America. In 1972, he joined the staff, which included busboy Carlos Falchi, manager Eric Emerson, and waitress Debbie Harry, whose presence eluded him.

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For the next two years, Perich would fill in when someone called out. As he remembers, the best time to work was late at night, when the famous and the infamous alike could come and let down their hair. No one batted an eye when Perich pulled out his camera for a photo. As you can see from the photos here, they were more than happy to oblige – or sometimes, not even aware. He was soon contributing his candid snaps to Interview before going on to launch NIGHT in 1978, his very own publication.

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Perich speaks about those heady years, when it was impossible to tell the nights from the days.

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Read the Full Story at Dazed Digital

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Candy Darling, Photo by Anton Perich

Robert Mapplethorpe, Photo by Anton Perich

Categories: 1970s, Art, Dazed, Manhattan, Music, Photography

Most Influential Artists of the Last 20 Years

Posted on May 2, 2017

Photo: Kusama’s Peep Show or Endless Love Show, 1966. Hexagonal mirrored room and electric lights. Installed at Castellane Gallery, New York, 1966. No longer extant. Courtesy of the Hirshhorn Museum and Sculpture Garden.

“This idea of art for art’s sake is a hoax,” no less than Pablo Picasso observed, recognizing the bourgeois mentality that drove narcissistic self-indulgence into the creative process was merely fraud.

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Indeed, art does not exist for itself; the greatest works are those that transform understanding into wisdom while revealing the truth of the times as not only a matter of the moment but of the underlying human condition. The best art is always one step ahead of where we find ourselves, predicting the future by bringing it to our attention today In celebration of the most influential artists of the last 20 years, Crave has compiled a list of men and women from all walks of life who work in a wide array of mediums, speaking truth to power.

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Read the Full Story at Crave Online

Categories: Art, Books, Brooklyn, Crave, Exhibitions, Graffiti, Japan, Painting, Photography

Basquiat Before Basquiat: East 12th Street, 1979-1980

Posted on April 28, 2017

Photo: Basquiat in the apartment, 1981. Photograph by Alexis Adler.

Before Jean-Michel Basquiat was known by name, his work had already hit the streets of New York. Writing under the name SAMO©, Basquiat and partner Al Diaz co-opted the means of graffiti to build street cred and fame but they took it a step further by adding tongue-in-cheek turns of phrase in bold block letters. By avoiding the highly stylistic letterforms of graffiti writers, SAMO© made it clear: they wanted to be read, known, and understood. Theirs was a message to the people of New York.

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SAMO© was a name that Diaz and Basquiat came up with one day while smoking they called “the same old shit.” They shortened it to “Same old,” then “SAMO” came through. At the time, Basquiat had been working in the art department of Unique Clothing Warehouse, perfectly situated at the intersection of Broadway and West Eighth Street. At night, they’d go out bombing, leaving messages behind, letting the city know what was on their mind.

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“SAMO©… THE SO-CALLED AVANT GARDE”
“SAMO©… 4 MASS MEDIA MINDWASH”
“SAMO as an alternative 2 playing art with the ‘radical chic’ sect of Daddy’s$funds’

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While art critic Jeffrey Deitch described the messages as “disjointed street poetry” in a 1982 issue of Flash Art, Basquiat admitted in a video interview that first ran on ART in 1998 it was, “Teenage stuff. We’d just drink Ballantine Ale all the time and write stuff and throw bottles…”—because, in fact, he was just 18 and 19 years of age.

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But then, in 1979, things changed. Basquiat and his friend Alexis Adler got a small apartment in the East Village together. The Brooklyn-native was on his own, free to explore life on his terms. Although his work as SAMO© continued through 1980, it was slowly getting phased out as Basquiat began to develop his work as a fine artist.

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Read the Full Story at Feature Shoot

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Photo: Basquiat in the apartment, 1981. Photograph by Alexis Adler.

Photo: Basquiat practicing clarinet in the bathroom of the apartment, c. 1980. Photograph by Alexis Adler.

Categories: 1970s, 1980s, Art, Exhibitions, Feature Shoot, Photography

Most Scandalous Art Shows of All Time

Posted on April 27, 2017

Gran Fury for ACT UP

The best art upends expectations and social mores, challenging the status quo by transgressing the boundaries of polite society. Because, let’s face it, truth isn’t kind to those who lie to themselves. But like the sun and the moon, the truth will always out.

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Great art is a vessel for truth, allowing artists to speak freely without ever uttering a word. The immediacy of sight and the way it work on the brain allows it to change the way we perceive the world by upending the power of words to articulate and explain. “Seeing is believing” as the old proverb goes, and with that in mind, artists can change your mind without giving you a chance to argue. In celebration of the power of art, Crave has compiled a list of the most scandalous art shows of all time.

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Read the Full Story at Crave Online

Categories: 1980s, 1990s, Art, Crave, Exhibitions, Photography

Jamel Shabazz: Crossing 125th

Posted on April 26, 2017

Photo: Style and Finesse, 2010. Digital chromogenic print, 16 × 20 in. Courtesy the artist. © Jamel Shabazz

Harlem is the heart and soul of New York, the epicenter of African-American life, culture, history, and hustle. At the turn of the twentieth-century, this vast tract of land in upper Manhattan quickly became the destination for black folks leaving the South en masse during the Great Migration. Here, folks created a town within a city entirely its own, dominating the wide boulevards and stately homes with a style and approach to life that combined the very best of the North and the South.

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It was during this first wave that the Harlem Renaissance was born, giving rise to a flourishing movement of a wide array of arts from literature, poetry, and drama to music, dance, and theater. Visual artists also took root, creating images that bespoke not just the times but also the rich and textured history of African-American life as seen through the eyes of the people.

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Among the great artists of the era was James Van DerZee, one of the premier photographers of the twentieth century. During the 1920 and ‘30s, he crafted a compelling pictures of Harlem’s emerging middle class that employed the elements of traditional Victorian portraiture—but took them to new heights but connecting with the spirit of his subjects and bringing out their glamorous inner light. Van DerZee’s photographs came to define Harlem in a way that few other photographers ever could, and in doing so, he influenced generations to come—including the great Jamel Shabazz.

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Read the Full Story at Crave Online

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Photo: Double Exposure, 1990. Digital chromogenic print, 16 × 20 in. Courtesy the artist. © Jamel Shabazz.

Categories: 1980s, 1990s, Art, Crave, Exhibitions, Manhattan, Photography

Wall Writers: Graffiti in Its Innocence Exhibition

Posted on April 26, 2017

Photo: COCO 144, 1974. Photo by Michael Lawrence. Courtesy Roger Gastman.

 

Graffiti is a basic human impulse. From the oldest known cave paintings, going back 40,000 years in the Maros region of Indonesia to a toddler in 2017 who has discovered the magic of crayons and walls, the desire to leave a mark speaks to a fundamental tool of communication. The visual and the verbal commingle and merge in its purest form, continuing to speak for the person who may since be long gone.

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Graffiti, in its contemporary form, found its footing in New York and Philadelphia during the Summer of Love as the idea of writing on the wall transformed from a primitive impulse to craft an anonymous message took shape as an increasingly stylized representation of a specific personage. As it did so, it became more than act of rebellion; it became a form of art, a flourish of a handstyle that was as unique as a signature and as bold as an autograph.

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The earliest practitioners of the form have been left largely to the underground, to the myths of history or fallen into the cracks of the past. As pioneers and innovators, their work could be rudimentary, as it was more invested in discovery than perfection. It wouldn’t be until the second generation came along with its top-to-bottom whole train car masterpieces that many sat up and took notice. But the first generation certainly made waves, inspiring newspaper and magazine stories, books, and later collaborations and films. But quick as they came up, they disappeared, moving on with their lives as they aged out, from boys to men.

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Read the Full Story at Crave Online

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Photo: Photograph by Jon Naar, 1973. Courtesy Roger Gastman.

Categories: 1960s, 1970s, Art, Crave, Graffiti, Manhattan, Photography

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